Lamarque was born in Buenos Aires, Argentina, and was of partial French descent on her father's side.

[4][5] In 1930, her third work, Los cíclopes: una epopeya en la calle Sucre, was published.

[12] Lamarque was involved in Boedo, a "vanguard writers' group," and was a member of Ateneo Femenino Buenos Aires.

[1] In July 1933, Lamarque published an article in the magazine Contra, in which she argued that "art, as a product and synthesis of social factors, reflects the reality of society" and that "pure art is the decadence of the bourgeoisie" and defended the "triumphant proletarian art of the U.S.S.R."[1] In 1925, Jorge Luis Borges wrote positively about Lamarque's work in Spanish, comparing it to Alfonsina Storni's and saying that it had neither "the vagueness nor the gossipy shrillness that this Storni tends to offer us.

[15][16] In Literatura Argentina Contemporanea, literary critic Juan Pinto referred to Lamarque as "the poetess with the most masculine voice of our literature.